James A. Baffico Movies

The detectives launch a search for a possible campus rapist when the body of a female college student is found. The ensuing investigation suddenly goes off on another tangent when evidence points to a prostitution ring involving pretty coeds. Can it be that the dead girl was a secret hooker, and that one of her colleagues killed her to keep the secret? Whatever the case, the DA's office is stonewalled by the legal maneuvers of the suspect's well-connected father. ~ Hal Erickson, Rovi

Havoc reigns supreme at a diabetes clinic where several patients suddenly die or go into a coma at an alarming rate. The detectives trace this disastrous situation to a hacker that has invaded the clinic's computer system. Then things take a surprising turn when a vengeance-driven blind man emerges on the suspect list. Without revealing any further cogent plot points, it can be noted that guest star Dana Elcar was legally blind in real life. ~ Hal Erickson, Rovi

Loosely based on the novel by Alberto Moravia, Me and Him concerns an architect (Griffin Dunne) whose penis begins giving him advice on business and love. It urges him to leave his wife and seduce a series of co-workers and acquaintances. ~ John Bush, Rovi

High school athlete Tom Cruise would do anything to escape the dull provincialism of his home town. Cruise's bullying coach Craig T. Nelson cajoles Cruise into seeking an athletic scholarship to a major university. Inevitably, the boy begins to question his goals in life, and soon his soul is the object of a tug of war between Nelson and Cruise's girlfriend Lea Thompson. The first directorial effort for cinematographer Michael Chapman, All the Right Moves was photographed by Jan DeBont, who'd later direct such box-office bonanzas as Speed and Twister. ~ Hal Erickson, Rovi

Director George A. Romero's epic sequel to his legendary Night of the Living Dead has firmly established itself as the equal of its ground-breaking predecessor. Though shot in 1978 -- ten years after the first films' release -- Dawn's story begins as if the events in Night had happened only a few months before: after shambling armies of the recently-dead take over every major city -- seeking warm human flesh for food -- the U.S. government imposes a state of martial law, sending in special National Guard units to attack and destroy zombie infestation where they find it. Two members of one such unit, Peter (Ken Foree) and Roger (Scott Reiniger) have been tasked to overthrow a nest of zombies in a Pittsburgh housing project (one of the film's most explicitly gory scenes). When the job turns ugly and Peter is forced to terminate his own berserk, racist commanding officer, the pair decide to split the outfit with the help of his friend Stephen (David Emge), a traffic pilot for WGON-TV, and the station's floor manager, Stephen's girlfriend Frances (Gaylen Ross). Together they steal the station's helicopter and head for less-populated areas, but after some narrow scrapes with flesh-hungry redneck ghouls in the country outside Harrisburg, they opt for a more secure hideout. Eventually they find the perfect solution: a massive, sprawling shopping mall. After the lengthy process of purging the building of zombies is complete, the four secure themselves snugly in the miniature city, consigned to live out their lives in a dull but cushy consumer's paradise... but the arrival of a menacing gang of nomadic bikers proves that this is not to be. With their survival instincts weakened by a mallful of toys and trinkets, the crew are again forced to face grim reality as they face both living and undead foes in a final battle. Romero's excellent, multi-layered story combines high-adventure heroics, three-dimensional characters and explicit gore (by the always masterful Tom Savini, who plays a small role as a leering biker) to excellent effect. The subtext comparing the glassy-eyed behavior patterns of the ghouls to those of American consumers is clear, but not overdone: "It's some kind of instinct," Stephen comments, observing the zombies' attraction to the mall; "This was an important place in their lives." Despite the glimmer of hope offered by the film's closing scene, the outlook for humankind is grim. Perhaps it is Frannie who best expresses Dawn's outlook for humanity: "We're not gonna make it, are we?" Several versions of this film are available on video, including a faster-paced European version edited by overseas distributor Dario Argento and a "Director's Cut" with a great deal of exposition restored (though Romero is quoted as having preferred the unrated cut released initially to U.S. theaters). The shooting script also contains a more downbeat ending, which was never filmed. ~ Cavett Binion, Rovi